Minority Presence in Contemporary British Art
"Highly visible yet evasively mute."
Art critic Kobena Mercer, comments on the current position of African and Asian artists in Contemporary British Art, when he suggests that minority artists are seen and not heard. This oxymoronic position derives from a long historical legacy of European colonization and the emphasis on 'racial inferiority' and 'otherness.' On the one hand, British art is progressive, allowing some minority art in the general art world. Yet on the other hand minority art is still marginalized by the preferential treatment given to white artists. There is a strong degree of accuracy in Mercer's statement because while minority art can now be 'seen,' the 'voice' is suppressed when the 'ethnic element' is too strong. Subordination comes in many forms. Not only do minority artists have a limited gallery presence in major galleries, but finding information on them can be utterly impossible when the current focus of British art revolves around what it means to be British. The only minority artists that are visible are artists who either play up white stereotypes or allude to a Western artistic tradition. An examination of these artists and the current art climate, indicate that the visible presence of minority artists is controlled by preconceived traditions and perceptions.
The difficulties facing minority artists in Britain today relate to the current climate of the art world. A quiet tug-o-war exists between the effort to globalize the British art and return to white dominance. Multiculturalism is everywhere; however, it often plays an artificial role in that its purpose is to fulfill a quota. The predominately white yBa movement defines the current art worl...
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...the boat' too much. African/Asian artists must allude to either white stereotypes or traditions, to survive in an art world that continues to be dominated by the majority.
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The idea that art can be a service to people- most importantly a service to poor and disenfranchised people is one that may be disputed by some. However, Elizabeth Catlett and other artists at the taller de Graffica Popular have proved that art could be made to service the poor. Catlett in particular is someone who has always used her art to advocate for the poor and fight injustices. While her activism and political views were very impactful, they were also very controversial. Catlett`s art and activism influenced African American and Latin American art by changing the narratives of Black and Brown working class women. In their books titled Gumbo Ya Ya, The Art of Elizabeth Catlett, African American Art: The Long Struggle, and Elizabeth Catlett: Works on Paper authors Leslie King-Hammond, Samella S. Lewis, Crystal Britton, Elizabeth Catlett, and Jeanne Zeidler speak of the work of Catlett. In a paper titled -----, ---- also speaks of the work of Elizabeth Catlett and her legacy as an activist.
How does one embrace the message and soul of artwork when you can’t get passed the color of skin in the portraits? Two barrier breaking retrospective artists born with more than 2,899 miles between them have beat down the walls in the art world opening up endless opportunities for female artist today. Carrie Mae Weems and Lorna Simpson specialize in catching the viewer’s eye and penetrating their feelings towards issues of culture, politics, equality, and feminism. It is well established that these woman specialize in identifying problems in their artwork, both artists seem to struggle with not being able to avoid the ignorant eye of stereotyping because they use African American Models in their artwork. Carrie Mae Weems doesn’t see her artwork
The display of Benin art in museum and galleries reflect the attitudes and perceptions of Europeans towards non-western artefacts, especially African. Thus as European attitudes change towards non-western art since the discovery of Benin art in 1897, Benin art has been revaluated and re-categorised.
Western attitudes to African people and culture have always affected how their art was appreciated and this has also coloured the response to the art from Benin.
In an excerpt from Janell Hobson’s “Venus in the Dark: Blackness and Beauty in Popular Culture” Hobson argues that the “image of black women’s bodies in culture are distorted in a way resembling the morphing of a person’s figure in a carnival mirror,” a term she coins as “un-mirroring.” She continues this metaphor by saying black women artists must “fight against this process by challenging dominant culture’s representation of black women’s bodies as being grotesque and changing the discourse to being one of beauty.” One may argue that black women are too diverse to be represented by one image, rather that they should fight to be regarded as individuals devoid of stereotypes and negative historical connotations. Stereotypes, which are too broad to be accurate, have negatively affected the image of the black female body in culture. To change the trajectory of this idea in the future, the discussion must be aimed towards persuading society that stereotypes are superficial judgments, and that black women should be regarded as a diverse group of individuals, not individual elements of a stereotype.
There is no art, music, and literature like here in sub-Saharan Africa. What is important to Westerners, such as the artist, label, and static-like wall hanging, means nothing to us. African art is living, spiritual, and meant to go back to the Earth once the soul of the item has run out. As the Bamana of Mali say, the art are “things that can be looked at without limit”. Our artwork has changed, emerged, and survived eras of turmoil and inversely, hope. I have found passing through the global gateway into Africa has made me appreciate this culture more, and appealed to me on a level that made me choose being a part of it.
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I have been assured by a very knowing American of my acquaintance in London, that a...
It is clearly shown in the Virginia Woolf’s essay that she was struggling between life and death during that time. Woolf makes us feel the death of a specific moth, which leaves the readers respecting the power of death. In Woolf’s essay, the moth was trying to pass through the window screen, but fails to do so because the window was closed. This insignificant creature created a battle with himself, struggling to fly through the windowpane and start a new life. To Woolf’s eyes, the moth did not let the glass separate itself from his goal, to manipulate his life. Virginia Woolf felt “a queer feeling of pity for him” and tries to help the moth. But, Woolf withdraws because helping him would take away the most important part of the moth’s life; the beauty of his struggle toward success.
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The exhibition is not too large as it only contains around eighty artworks. These works all have African Americans as the main subject since Marshall believes that African Americans deserve more attention in art because they are almost “invisible” in a way. Mastry is arranged chronologically, starting with Marshall’s earlier works and then leading to galleries with themes such as beauty or the civil-rights struggle. Mastry should be visited because it allows a person to learn about African American art which is underrepresented and underappreciated. The general idea or thesis of this exhibition is that African Americans have been looked down on throughout history and viewed as subhumans, or even invisible. Marshall’s exhibition is about appreciating African Americans and viewing them as what they are: humans.
In 1729 Ireland was subject to English control, which resulted in the Irish facing famine and poverty. Jonathan Swift was of English decent, yet lived in Ireland, which he considered himself to be a loyal citizen to. Swift cared deeply for Ireland and its people, which motivated him to write his satirical piece, “A Modest Proposal,” addressing in full, the issues Ireland faced. Swift’s purpose was not solely to call attention to these issues, but inspire both the Irish and English to bring an end to the suffering at hand.
The “privileged minority” mystifies works of art in order to control people’s view. Berger explains how Hals becomes after he painted the two paintings. According to Berger, “he obtained three loads of peat on public charity, otherwise he would have frozen to death. Those who now sat for him were administrators of such public charity” (158).
Feminism has been an extremely controversial and significant subject over the centuries. The issue of equality between men and women have been questioned and exceedingly debated upon, why men were treated and considered the ‘superior’ gender. During the 1960’s, civil rights, protests against war and gay and lesbian movements were at its peak. It was the period of time, which the Feminist art movement had emerged, also known as the “second-wave” of feminism, shifting away from modernism. Women wanted to gain equal rights as men within the art world. Feminist artists such as Cindy Sherman, Carolee Schneemann and Hannah Wilke pursued to change the world and perspectives on women through their artworks, specifically in body art. Their goal was to “influence cultural attitudes and transform stereotypes.” (DiTolla. T, 2013)